Best women-centric movies of 2014
Driving the charge is the sleeper of the year one of the best women-centric movies is, Bollywood’s “queen” by helmer Vikas Bahl, featuring Kangana Ranaut as an abandoned lady who chooses to go on her esteemed European special night all alone.
The $2 million planned film accumulated more than $20 million around the world. Ranaut additionally stars as a firearm toting lawmaker with a Don Juan as the lead of “revolver Rani.”
Gatherings of people likewise spun “Gulaab Gang” in which Madhuri Dixit and Juhi Chawla squared off against one another, and “Highway,” toplined by 20-year-old Alia Bhatt, into B.O. gold.
“Highway” was helmed by Imtiaz Ali, known for his blockbusters, with Bhatt as a lady attempting to conquer the injury of sexual misuse amid her youth. It inspired an emotional response with groups of onlookers crosswise over India.
Standard Indian movie producers —, for example, Ali with “highway” — are progressively handling delicate subjects beforehand brushed far from anyone’s regular field of vision or held for little-seen documentaries or arthouse movies. Sanjay Chhel’s “Slaughter the Rapist?” is a reaction to the wave of rapes against ladies in India as of late.
Old women-centric movies
The bastion of a regularly male-driven film industry began to split in 2011 with “The Dirty Picture” and “Nobody Killed Jessica,” and 2012’s “Kahaani,” all offering solid parts by Vidya Balan. Past Bollywood, India’s territorial dialect commercial enterprises are additionally creating a large number of femme-driven motion pictures.
Meera Jasmine assumes the lead part of a lady’s battle to bring home the bacon after her spouse forsakes her in the Malayalam-language “Ithinumappuram”; Nayanthara translates Balan’s “Kahaani” part of a lady looking for her missing spouse in its Tamil and Telugu changes; and Gauri Gadgil plays a Down disorder harassed young lady who finds her metier in swimming in the Marathi “Yellow.”
The femme-arranged movies made outside Bollywood aren’t simply commendable subjects, they can be as standard as “Arundhati,” the Bengali redo of the 2009 Telugu hit, with Koel Mullick assuming the part of a nineteenth-century warrior queenresurrected in the present day; or the Kannada “Gharshane,” where the male lead of 2011 Tamil film “yuddham sei” was re-composed to suit activity driving woman Malashri.
